Why do we not know more about the American composer Elinor Remick Warren?
Lewis Foreman’s notes recount her life-story in extenso. However
do also have a look at Pamela Blevin’s even more detailed major article elsewhere
on this site. This Los Angeles born and based composer studied for an intensive
three month period with Nadia Boulanger in Paris in 1959. A number of her
works found their way on to the Cambria label including the superb oratorio The
Legend of King Arthur excerpted on this disc and given its UK premiere
in 1995 by Richard Hickox at the Goucester Three Choirs Festival . Her orchestral
songs can also be found on Cambria. The
Crystal Lake is a warm, romantic Delian piece inspired by encountering
a lake of this name during a 1940s holiday in the High Sierras. The Scherzo
has an ever so slightly malevolent elfin bounce. This is counterweighted
by a fine noble melody for the strings with the mellifluous mercuriality
of Smetana’s Vltava.

The Fountain is just as serene as The
Crystal Lake which despite a slight Hollywood patina is redolent of the
noblest extension in Vaughan Williams’ Prelude to The 49th Parallel.
Warren’s worklist is overshadowed by two works of majestic proportions
and forces: The Legend of King Arthur and the Requiem. From
the former we get to hear the fine orchestral Intermezzo which is delightful,
swoons lavishly in a sort of hybrid of Delian poetry and, just occasionally,
the swooping romance of a Waxman film score. After this comes King Arthur’s
Farewell superbly sung by Roderick Williams. Here the score is again indebted
pleasingly to Delius’s Sea-Drift and Once I Passed Through
a Populous City. The contour of the melody occasionally veered towards
Coleridge-Taylor’s Hiawatha a little too close for comfort.
The text is given in the booklet in full though the singer’s diction
is such that you will not need it. Along the Western Shore is a three
movement orchestral suite: (i) Dark Hills; (ii) Nocturne; (iii) Sea
Rhapsody. The Dark Hills are plagued with desperately oppressive
dark clouds that obliterate the lighter qualities of life. After such angst
the Nocturne comes as a typically Delian relaxation out of the same
contented compartment as The Crystal Lake and The Fountain.
The Sea Rhapsody is a tempestuous affair and in it one can perhaps
hear the roots of other such essays especially the comber-dashing emotional
turbulence of Flagello’s Sea
Cliffs.

The compact Symphony subsumes into its fabric three sections
in an idiom which is passionate, at times Baxian, at times noble in the manner
of Elgar and yet reflects open-air Americana. The last work is the four episode Suite
for Orchestra. Its movements are: (i) Black Cloud Horses; (ii) Cloud
Peaks; (iii) Scherzino: Ballet of the Midsummer Sky; (iv) Pageant
across the Sky. This is akin in its unsettled emotional upheavals to
the outer movements of Along the Western Shore. Its inspiration lies
in the family’s five hundred acre ranch in the High Sierras - the cloudscapes
set against the Delian Heights, the storms and calm sunny days. There were
several moments when it had me thinking of Delius’s Song of the
High Hills. The Berlioz-like impish capering of the third movement recalled
the Scherzino in tr. 2. Pageant Across the Sky is the finale.
It has a conspiratorial nocturnal air to it at first but rises to stirring
heights worthy of the mountain landscape.

This is irresistible stuff: lavishly driven by a neo-romantic lyrical impulse
which should rapidly find an enthusiastic audience for more from this source
and new complete recordings of The Requiem and The Legend of King
Arthur.